Symbols of the Self I visited India for the first time in 1969. Although it has since become a cliché, it would be fair to say that on my arrival in Bombay I felt that I had ‘come home.’ I could not put my finger on the source of this feeling at the time but I later realized that perhaps India was so special for me because she did not speak only of herself. In the West the objects we encounter daily are purely self-referential. You meet Joe and his name takes you nowhere. It is just a label for the body standing in front of you. What does it mean to say that an automobile is a Chevy or a Ford? Public buildings say, “I am an insurance office” or “I am a hamburger joint” and nothing more. Even churches rather resemble dental clinics than point to the heavens where their God presumably dwells. In India things are what they are, but at the same time they are doorways to the limitless world of spirit. This is enticing for an inquiring mind but it can be a problem because you will never mine the depths of this fascinating culture unless you are given the code to her apparently obscure, oftentimes bizarre and apparently irrational symbolism. Wherever you turn you are reminded of the mystery that pervades every atom of the visible. When you meet a man named Shiva or a woman named Laxmi the mind journeys to the realm of myth, the world that gives form to what must forever remain formless. The ‘big rigs,’ goods lorries, are the lifeblood of commerce but also serve as chariots of the Gods sporting names like Garuda Transport or Hanuman Trucking. Garuda, a massive golden eagle capable of supersonic flight, is the vehicle for the great god Vishnu, ‘the one who pervades everything.’ Hanuman, the monkey God flew through the air carrying a whole mountain of herbs from the Himalayas to revive the simian army of Sri Ram, an avatar of Vishnu who came to earth to reestablish Dharma. The boy at Shiva Shakti cleaners who tends your laundry is called Govinda, ‘the keeper of the light.’ An ochre clad sadhu or garlanded cow with a sandalwood paste third eye wanders past and your mind leaves the cares of the day to wander in the infinite. Indians swim in a sea of symbolism. A wealth of positive associations settle and reassure an anxious mind, but visitors are invariably confused by the riotous display of arcane symbols. As early European visitors to the Subcontinent did a century ago, we may be inclined to deem her culture primitive or pagan, but we would be wrong. To understand India’s symbols we must go back several thousand years before the birth of Christ and investigate the ideas enshrined in civilization’s oldest extant spiritual texts, the Vedas, ideas that account for the exceptional longevity and vitality of Indian culture. The Vedas say that the world that appears as insentient matter to our senses is actually ever-free limitless consciousness. It further contends that the beings in the world are non-separate from it, and therefore…again contrary to appearances…are not condemned to suffer, but, like it, enjoy limitless freedom. And while their innate freedom may be hidden from them, it can be rediscovered by contemplation on the truths contained in the Vedas. The freedom that is our birthright is called moksha, liberation and is defined as freedom from dependence on objects. An object is anything other than one’s self. The consistent realization of this freedom by untold millions over thousands of years accounts for the homogeneity and longevity of Vedic culture. Though too subtle for an extrovert to grasp, the idea that our nature is ever-free will never die because it fulfills our deepest need. Vedanta, the ancient tradition that enshrines it, survived through a special educational system dedicated solely to the purpose of maintaining Vedic Dharma, a way of life that leads to freedom. But as India became agrarian and urban and society turned its attention to less lofty pursuits interest in Vedic Dharma declined. So to keep the Dharma alive, the seer-poets whose luminous minds revealed the Vedas came up with the Pauranas. The Pauranas are called Dharma Shastras, scriptures on Dharma. They provide an outlet for the ethical and religious needs of the people and simultaneously present the knowledge of consciousness, the innermost self, in code. They convert cryptic Vedic mantras, which require considerable brain power to decipher even when unfolded by a sage, into action-packed stories and meaningful imagery. The Pauranas are the seer’s stealth technology and carefully embed Upanishadic ideas about the nature of reality into an exciting, baroque and romantic mythological facade. The confounding abundance of Gods and Goddesses that shock and bewilder India’s modern visitor are Pauranic deities. The genius of the Puranas lies in the way they convert mundane experience and objects into symbols of the self. For example, from a geographical and material point of view mount Kailas is just one of the many snowcapped peaks in the Himalayan range. But because of the meaning invested in it by the Pauranas it is regarded by Indians as a spiritual Everest, even though it is not the highest peak. Mountains are good self symbols for several reasons. They are relatively eternal. The self is eternal. They jut above everything else, 2 affording an unsurpassed point of view. The self is the highest part of our being, jutting above the plains and valleys of our body/mind territory affording us unlimited vision. They are unmoving like the non-dual self, which could only move were there something other than it to move into. They are silent like the self, ‘the unstruck sound.’ Rivers too have been converted to self symbols because they give life, nourishing everything with which they come in contact. In fact the elements (air, fire, water, earth and space) are not only the self in material form but, for the purposes of worship and contemplation, function as self symbols, the meditation on which may open the door to the shining world of self knowledge. In South India five major temples are dedicated to the worship of the self in the form of the five ‘great’ elements. For example, there is a temple in Southern Andra Pradesh at a town named Kalahasthi that represents the air element. Air, like water, is an appropriate self symbol because we cannot live without it. It is our ‘life’s breath.’ Like the self, it is formless and unseen and ‘moves in mysterious ways.’ Animals, plants and minerals represent spiritual truths. The elephant, because of keen intelligence and long memory has come to represent Vedic wisdom. Gold, because of its great value and non- tarnishing quality and silver for its reflective ability are well-known self symbols. Colors too are imbued with meaning. White, for its similarity to light, is an obvious self symbol. And black, because it is opposite white, symbolizes ignorance of the self. But black in certain contexts sometimes symbolizes the self because, as the self encompasses everything within its panoramic awareness, black includes all the colors of the spectrum. Because the relatively infinite sky is blue, blue has come to symbolize the limitless self. Red typically symbolizes passion, in this case the self as the passionate dancing energy, shakti, that creates the universe. According to ancient Tamil sources a temple town in Andhra Pradesh named Kalahasti has been known as the ‘Kailas of the South’ for slightly more than two thousand years and the small river on whose banks it sits, the ‘Ganges of the South.’ Kailas is perhaps India’s most revered spiritual symbol. It is the abode of Shiva, from whose head, according to legend, the Ganges is said to flow. Shiva, ‘that which is auspicious at all places, times and in all circumstances’ is a symbol of the self and the Ganges flowing from his head represents the awakened mind. A mind sourced in spirit is a river of immeasurable power and life- giving goodness. The claim that Kalahasti is the ‘Kailas of the South’ simply means that the small hill near the temple is to be taken as the spiritual equivalent of the Himalayan Kailas. Likewise, the small river 3 flowing in a northerly direction beside the temple is to be taken as the mighty Ganges. Even the cardinal directions take on spiritual significance in Pauranic culture. Obviously context should be taken into account when divining the meaning of a symbol, but north, for example, is said to be the abode of the self because from its unchanging frozen immortal world, one looks out on the fecund, changing ‘southern’ world of time and death. The idiom to “head south’ means to go downhill, to decay, the most essential characteristic of the world in which we struggle to find lasting meaning. The God Dakshinamurthy whose name means ‘the one facing south’ and whose idol is installed in the Kalahasti Temple, faces south. East represents the dawning of wisdom, the sun being another common self symbol. The symbolic use of direction accounts for the idea of building temples at the point on a river where its meandering points it back to its source. The holiest city in India, Benaras, is built on a stretch of the Ganges that flows northward toward the Himalayas, the idea being that when the mind turns back toward its source, the self realizes its innate divinity. The Vedas posit four ends for which human beings strive in their search for happiness: pleasure (kama), security or wealth (artha), duty (dharma) and freedom (moksha).